Difference between revisions of "Final MENAME concert: Thursday, March 25, 2010"
(→Wasla I (continuous, no breaks)) |
(→General principles) |
||
(7 intermediate revisions by the same user not shown) | |||
Line 17: | Line 17: | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Sari%20Gelin/ Sari Gelin] (Nahawand G). Ali intro, then Kioumars cues. | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Sari%20Gelin/ Sari Gelin] (Nahawand G). Ali intro, then Kioumars cues. | ||
+ | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Qoqaye%20setaregan/ Qoqaye setaregan] (Nahawand A). Kioumars. | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Kalabandi/ Kalabandi] (Nahawand G) | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Kalabandi/ Kalabandi] (Nahawand G) | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Oshyoni%20bulbulon/ Oshyoni bulbulon] (Hijaz G) | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Oshyoni%20bulbulon/ Oshyoni bulbulon] (Hijaz G) | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Mahbubai_jon/ Mahbubai jon] (A center, Mixolydian F) | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Tajik%20songs/Mahbubai_jon/ Mahbubai jon] (A center, Mixolydian F) | ||
− | |||
= Wasla III = | = Wasla III = | ||
Line 26: | Line 26: | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Dulab%20bayyati/ Dulab Bayyati] | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Dulab%20bayyati/ Dulab Bayyati] | ||
− | * Taqasim bayyati (oud) (Ashraf) | + | * Taqasim bayyati (oud) (Ashraf), leading to [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Sama%60i%20bayyati/ Samai Bayyati] (Bayyati D): first Khana (Rast) plucked; second Khana (Hijaz) bowed; third Khana (Saba) clarinet and org |
− | |||
− | |||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Rinda%20min/ Rinda min] (Bayyati D), Marie | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Rinda%20min/ Rinda min] (Bayyati D), Marie | ||
− | * Short mawwal & [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Hare%20Layle/ Hare Layle] (Bayyati D), Hoshyar | + | * Short mawwal & [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Hare%20Layle/ Hare Layle] (Bayyati D), Hoshyar (3 verses only) |
− | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Dulab%20and%20taqasim%20bayyati/ Dulab and Taqasim Bayyati] ( | + | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Dulab%20and%20taqasim%20bayyati/ Dulab and Taqasim Bayyati] (Nadir and Drew) |
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Fawq%20al-nakhl/ Fawq al-Nakhl] (Nahawand D), Amal | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Fawq%20al-nakhl/ Fawq al-Nakhl] (Nahawand D), Amal | ||
+ | |||
+ | * Brief taqsim (Hadi) & mawwal (Mona), then [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Zuruni/ Zuruni] (Ajam Eb), Mona | ||
+ | |||
+ | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Aziza/ Aziza] (Nahawand G) featuring Pam Cruise, dancer | ||
* [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Shu%20hal%20iyyam%20illy%20wsolnala/ Shu hal iyyam] (Nahawand D) | * [http://www.fwalive.ualberta.ca/~michaelf/MENAME/Repertoire/Shu%20hal%20iyyam%20illy%20wsolnala/ Shu hal iyyam] (Nahawand D) | ||
− | * | + | * Encore: Repeat Hare Layle for debke |
− | + | = General principles = | |
− | * | + | * listen to one another, watch for cues... |
+ | * melodic instrumentalists should take care: (1) to drop volume during vocal solos, and raise volume during chorus sections; (2) to drop volume during targama (=tracing the main melody line), and raise volume during lawazim, creating a sharp contrast; (2) to drop volume prior to solos, in order to maximize contrast; (3) develop your own tasteful lawazim and heterophonic variations, filling all spaces. | ||
+ | * melodic instrumentalists should vary repeats, by rising an octave if possible (violins especially) | ||
+ | * when one instrument has a solo, others should not drop out. For taqasim, provide a quiet drone on the tonic. For other solos, use a "targama" technique, as if accompanying the singer. | ||
+ | * percussionists should take care: (1) not to let volume get too high; (2) to listen to one another and to the rest of the ensemble, in order to stay in time; (3) not to accelerate or decelerate except where required; (4) provide nice balance of dum and tek, drum sound and jingle sound, within the ensemble by including a variety of percussion instruments: tabla, tonbak, riqq, tambourine, shaker, clave, etc. | ||
+ | * percussion should always change between chorus and verse; use quieter, less dense cycles with less jangling for verses; louder, denser, janglier for chorus. Precise specifications will vary with the piece. | ||
+ | * singers: (1) know who is singing solo part and who is singing chorus; (2) sing loudly!; (3) if you're not soloing, be sure you're not singing directly into the microphone!; (4) take care to listen to the instruments for pitch, and to the percussion section for timing. | ||
+ | * all: know the forms well, then perform with confidence, especially on entrances. | ||
+ | * watch me for cues, especially to end the pieces. Not all pieces end the same way - some end quietly, and others noisily. See individual piece descriptions for details. | ||
+ | * please bring only the music/lyrics you need, in the right order, and keep it in a black folder. | ||
+ | * don't talk on stage, or look at one another. Except when watching for cues, look out at the audience. | ||
+ | * all: watch each other, watch me, smile a lot, and really enjoy the performance! :) |
Latest revision as of 01:57, 25 March 2010
Wasla I (continuous, no breaks)
- Bilafrah Hijaz G (3 min). Play entire form twice (first time ensemble, second time with sections: first plucked, then bowed/blown).
- Taqsim Hijaz G to Nahawand C (org)
- Dulab Nahawand C. Cue: org; melody instruments start (upbeat), then percussion enters on wahda, switching to maqsum. Repeat form twice, with four bar percussion solo in middle.
- taqsim Nahawand C (Hadi)
- Lamma Bada Yatathanna, Nahawand C
- Taqsim (Ashraf) and Mawwal (Tony), Rast C.
- Ya Shadi al-Alhan, Rast C, Tony
- Ya Dha al-Qawwam, Hijaz Kar Kurd G, Tony. Cue from org, begin with instrumentals.
- Qadukka al-Mayyas, Hijaz G (trad. version, Tony) and Nahwand C (Jesse Cook version, all). Cue from org, begin with instrumentals.
Wasla II
- Asphar Awordim (Kurd D). Ali intro (with drone)
- Sari Gelin (Nahawand G). Ali intro, then Kioumars cues.
- Qoqaye setaregan (Nahawand A). Kioumars.
- Kalabandi (Nahawand G)
- Oshyoni bulbulon (Hijaz G)
- Mahbubai jon (A center, Mixolydian F)
Wasla III
- Taqasim bayyati (oud) (Ashraf), leading to Samai Bayyati (Bayyati D): first Khana (Rast) plucked; second Khana (Hijaz) bowed; third Khana (Saba) clarinet and org
- Rinda min (Bayyati D), Marie
- Short mawwal & Hare Layle (Bayyati D), Hoshyar (3 verses only)
- Dulab and Taqasim Bayyati (Nadir and Drew)
- Fawq al-Nakhl (Nahawand D), Amal
- Brief taqsim (Hadi) & mawwal (Mona), then Zuruni (Ajam Eb), Mona
- Aziza (Nahawand G) featuring Pam Cruise, dancer
- Shu hal iyyam (Nahawand D)
- Encore: Repeat Hare Layle for debke
General principles
- listen to one another, watch for cues...
- melodic instrumentalists should take care: (1) to drop volume during vocal solos, and raise volume during chorus sections; (2) to drop volume during targama (=tracing the main melody line), and raise volume during lawazim, creating a sharp contrast; (2) to drop volume prior to solos, in order to maximize contrast; (3) develop your own tasteful lawazim and heterophonic variations, filling all spaces.
- melodic instrumentalists should vary repeats, by rising an octave if possible (violins especially)
- when one instrument has a solo, others should not drop out. For taqasim, provide a quiet drone on the tonic. For other solos, use a "targama" technique, as if accompanying the singer.
- percussionists should take care: (1) not to let volume get too high; (2) to listen to one another and to the rest of the ensemble, in order to stay in time; (3) not to accelerate or decelerate except where required; (4) provide nice balance of dum and tek, drum sound and jingle sound, within the ensemble by including a variety of percussion instruments: tabla, tonbak, riqq, tambourine, shaker, clave, etc.
- percussion should always change between chorus and verse; use quieter, less dense cycles with less jangling for verses; louder, denser, janglier for chorus. Precise specifications will vary with the piece.
- singers: (1) know who is singing solo part and who is singing chorus; (2) sing loudly!; (3) if you're not soloing, be sure you're not singing directly into the microphone!; (4) take care to listen to the instruments for pitch, and to the percussion section for timing.
- all: know the forms well, then perform with confidence, especially on entrances.
- watch me for cues, especially to end the pieces. Not all pieces end the same way - some end quietly, and others noisily. See individual piece descriptions for details.
- please bring only the music/lyrics you need, in the right order, and keep it in a black folder.
- don't talk on stage, or look at one another. Except when watching for cues, look out at the audience.
- all: watch each other, watch me, smile a lot, and really enjoy the performance! :)